Vocalist Pamela Rose has just finished six years of touring her acclaimed multimedia show, “Wild Women of Song.” In early 2017, she will unveil her new one, “Blues Is a Woman: From Ma Rainey to Bonnie Raitt.”

In the meantime, Rose will provide musical enjoyment to audiences at Angelica’s in Redwood City. She’s been doing so every first Thursday of the month for the past 18 months. On Dec. 1, she’ll share the stage with renowned Bay Area R&B singer Glenn Walters. They’re teaming for a “Holiday Song Fest.”

Rose first performed with Walters in the mid-1980s, during their Hoodoo Rhythm Devil days. They were also part of the highly entertaining Zasu Pitts Memorial Orchestra.

Rose always passes around lyric sheets to several songs, so audiences can join in the vocalizing.

“I like to break down that separation between the band and the audience. And if people would sing more, we’d all feel much, much better about life,” says Rose, who teaches blues singing at Berkeley’s Jazz School.

“If you’re going to come out to hear live music — which we really appreciate — we really want it to be a fun scene,” Rose says.

In addition to R&B and jazz, December’s show will feature holiday favorites, such as “Baby It’s Cold Outside,” “Let It Snow” and even a reggae version of “White Christmas.”

Each month, Rose showcases some of the area’s top musicians. Among those who have performed with her at Angelica’s are Kenny Washington, Dave Bendigkeit, Stephen Saxon, Jeff Massanari and Marina Crouse.

“After all these years of performing in the Bay Area, I know so many extraordinary people that audiences might not know. Introducing them to audiences is a complete joy to me.

“These musicians are so brilliant, so committed to what they do. So creating this space for them to present themselves at their highest ability makes me really happy. I think of the band itself as my instrument and I want to find a way to help the people in the audience connect with something fresh-sounding. What’s exciting about jazz and blues — parts of it are rehearsed, but the rest should be spontaneous.”

Joining Rose and Walters in December will be Hammond B-3 organist Wayne De La Cruz, drummer Mark Lee and guitarist Bill Schrey.

Rose’s vocals are lovely — eloquent and elegant. Frank-John Hadley said in DownBeat magazine, “Outstanding … Rose sings in the deftly cadenced voice of a natural storyteller, ratcheting up or coyly coddling various emotions with grace and a true understanding of lyrics.”

Rose has had much success in recent years, touring her “Wild Women of Song” show, which celebrates women composers in jazz.

“That show changed my life. It’s been an extraordinary experience. I was so moved by the stories of these phenomenal women.

“When you’re a singer, you know all the jazz songwriters, Harold Arlen, Sigmund Romberg. As I started to do research for the ‘Wild Women’ album, I was blown away by how many women wrote really famous songs and yet these names were not as familiar to me. Dorothy Fields should be a household name, because she was as prolific as a Gershwin.”

In addition to the multimedia show, Rose has given presentations on the subject at high schools and colleges. She wrote a book on women jazz songwriters, as well.

Rose and her husband, Steven Dinkelspiel, former publisher of “San Francisco” magazine, live in San Francisco. They have two grown children. For 18 months, Rose has been writing and fundraising for her new piece, “Blues Is a Woman: Ma Rainey to Bonnie Raitt.”

Actually, its span goes from slave music to minstrel to Rainey and Ida Cox, through to modern artists like Susan Tedeschi and Erykah Badu. Rose will debut the show in March, at Berkeley’s Freight and Salvage and San Jose’s Kuumbwa Jazz Center. She will record an album based on the show.

“Women in the blues is such a profound story,” says Rose, who once worked as a Los Angeles singing waitress, serving up Bessie Smith tunes. “The popularization of blues happened because of women. It was the women in the ’20s that were the biggest stars, like Michael Jackson-style stars. When they started putting those women on records, phonograph records were a bit of a novelty. Suddenly there was demand for these records, with these women, singing these songs, that were so strong and so raw. The demand was so huge, that it shifted the music industry from sheet music to records.

“We think of blues as guys with guitars. I love all those guys with their guitars. But there’s more to the story. And the songs of those women were so fiercely independent, they created a new ideal for a new kind of woman that was very different from the women in the popular songs of the ’20s. She wasn’t somebody’s sister or somebody’s sweetheart. She was this other woman who drank and smoked, who messed around and had her heart broken and said to her sisters, ‘Hey, listen, if he’s no good, dump him and get another one.’ That was so shocking and so instructive, to a lot of women. It was inspiring. And those songs carry on.”

When Rose was growing up in the ’70s, people began rediscovering old blues records. “I think it had a lot to do with creating the feminist movement. It’s not just songs of despair and pain. There are songs of incredibly strong voices of liberation, joy, sexual freedom and objection to being treated in a certain way.”

Rose gave sneak peeks of the new work’s first act and received enthusiastic responses. “People were in tears. In these times, with what is going on, in the fight for equality, these songs remind us of our history. So much has changed. And so much has not changed. So it’s quite powerful.”